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Rga
from Zine- Rubi Sanchez
by rubys8319
Symmetrical serif with abrupt bracket
Moderate contrast, stress angle varies
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Transitional Serif
Bulbous terminals
Horazontal terminals
Very wide “R” is a product of normalised letter widiths
Typeface shown: Baskerville URW
As we move further away from type’s calligraphic roots, contrast increases and the stress axis turns more upright and variable within each typeface rather than staying consistent as it does in the Humanist serifs. Letters in these typefaces are more regular in shape and proportion and apertures are slightly smaller. Transitional serifs still have a gradual, bracketed transition from the stem, and terminals are often bulbous
Neo-Grotesque Sans
Typeface shown: Acumin
Neo-Grotesques (Neo-Grotesk in German-speaking parts of Europe) are even more rationalised extensions of the Grotesque style. These typefaces, pioneered by Helvetica and Univers, have very little stroke contrast, horizontal terminals and quite closed apertures. Their homogenized forms are graphically appealing at large sizes, so they often fare better in Display settings.
Rational Serif
Typeface shown: Bodoni MT
At the opposite end of the spectrum from the Humanists. Rational serifs have a strong, vertical contrast between thick vertical stems and fine horizontal hairlines. Because these typefaces are not so much written as constructed, their letterforms are very even in proportion and structure. Serifs are generally symmetrical, and can be bracketed, like Melior and Miller, or thin and abrupt, like the Didones (Bodoni and Didot).